Tag: bommel van dam

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André Dieteren (1943)

Dieteren embodies the various hues of the painter’s urge. The lure of the paint, the seduction of form, drenched in a plethora of colors, all while never losing sight of unity in invention. All components of the work are interconnected and inextricably linked, with the focus on a cohesive whole. He gives this unity the space and time to “grow”, to evolve into a final masterpiece. His expressionistic yet introspective art is liberated from the obligation of fixating on overtly recognizable themes and motifs. The transitions of color can be sudden, sensual, or gradual, flowing into one another.

All of this creates a symphony, a harmony of paint and canvas, composition and content, and most importantly, plasticity and expressivity. Restrained yet effortlessly fluid, spontaneous, seemingly naive but deeply calculated and conscious. Dieteren’s body of work encompasses all of this and more. The doubt that lingers between the lines is deliberate and contrived. For even though Dieteren initially follows the principles of line, hand, and movement, he never forgets to engage his thoughts. He is capable of creating from the deepest spontaneity of hand and paint, with reason and direction, never haphazardly. He knows the path laid out before him. His mind never loses sight of the flow of the line. “Objectification, the intensification of reality through his own experience of the object, that is, according to him, the ultimate intention of his most intimate work.”

www.ftn-books.com has the Bommel van Dam book on Dieteren now available.

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Jorinde Voigt (1977)

Jorinde Voigt (b. in 1977 in Frankfurt am Main, Germany) lives and works in Berlin and Hamburg, Germany. She graduated from Katharina Sieverding’s master class at the UdK Universität der Künste, Berlin in 2004. Afterwards, from 2014 – 2019, she was professor of Conceptual Drawing and Painting at AdBK Akademie der Bildenden Künste, Munich, Germany. Since 2019, she is professor of Conceptual Drawing and Painting at HfBK Hochschule für Bildende Künste Hamburg, Germany.

Jorinde Voigt’s drawings and sculptural works develop rigorous, idiosyncratic systems to depict how one’s inner world – such as personal experience, emotion, and memory – intersects with external conditions. She works in series that often refer to a specific theme, using as a starting point a particular text or idea. She develops notational systems of grids, line networks, and patterns that translate parameters such as distance, speed, or frequency into visual compositions. The exploration of music and musical notations has always played an important role in her work.

Selected solo exhibitions were on view at KÖNIG LONDON, London, UK (2022); Dirimart, Istanbul, Turkey (2022); Akademie der Künste, Berlin, Germany (2022); Kunsthistorisches Museum Wien, Vienna, Austria (2020); BOZAR, Centre for Fine Arts, Brussels, Belgium (2020); Horst Janssen-Museum, Oldenburg, Germany (2019); St. Matthäus Church, Berlin, Germany (2018); Kunsthalle Nürnberg, Nuremberg, Germany (2017); Hamburger Bahnhof Museum für Gegenwart, Berlin, Germany (2016); Kunsthalle Krems, Austria (2015); Museo d’Arte Contemporanea, Rome, Italy (2014); and the Langen Foundation, Neuss, Germany (2013). She has contributed to several biennials including, most prominently, the Manifesta 11, Zurich (2016), the Biennale de Lyon (2017), and the Vienna Biennial for Change (2019). In addition to numerous nominations, she was most recently nominated for the Zurich Art Prize 2021.

Jorinde Voigt’s work is included in numerous collections, among them the Art Institute of Chicago, the Centre Pompidou, Paris, the Kunsthaus Zürich, the Morgan Library & Museum, New York, the Museum of Modern Art, New York, the Pinakothek der Moderne, Munich, the Staatliche Graphische Sammlung, Munich and the Kupferstichkabinett, Berlin.

www.ftn-books.com has the catalog she made together with Gregor Hildebrandt for het Bopmmel van Dam exhibition now available.

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Gregor Hildebrandt (1974)

Gregor Hildebrandt’s signature mediums are cassette tape and vinyl, which he collages and assembles into seemingly minimal yet inherently romantic paintings, sculptures, and installations. Beneath the sleek surface of his analog aesthetics, which teeters on black and white monochrome, music and cinema permeate his practice. Whether depicted on canvas or sculpted into form, all of his pieces incorporate prerecorded materials, as referenced in their titles. These pop-cultural references, often a sole song, are intended to evoke both collective and personal memories. Similar to analog storage media, his distinct stripping technique serves as a metaphor for the mnemonic process itself: it involves rubbing magnetic coating against double-sided adhesive tape adhered to canvas, producing intricate and elusive powder-like patterns. Additionally, in correlation with architectural Gesamtkunstwerk, Hildebrandt’s vast sound barriers composed of stacked, bowl-shaped records and his alluring wall curtains constructed from unreeled tapes create a path for visitors to traverse during his exhibitions.

www.ftn-books.com has the duo exhibition catalog with Jorinde Voigt now available

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Marianne van der Heijden (1922-1998)

Van der Heijden was the daughter of Antonius Cornelis Josephus (Anton) van der Heijden (1893-1974), a teacher at the lekeninternaat Rolduc. During the war years, she was educated at the Stadsacademie in Maastricht, under the tutelage of Jef Scheffers. In 1945, she moved to Amsterdam, where she studied at the Rijksacademie under Heinrich Campendonk and Gé Röling. Among her fellow students in Amsterdam were Jef Diederen, Gène Eggen, Harry op de Laak, and Frans Nols, all of whom are considered part of the group known as the Amsterdam Limburgers.

Van der Heijden and Max Reneman both competed for the Prix de Rome in 1951. The jury was unable to decide which of the two should receive the gold medal. As a result, the prize was not awarded, and the accompanying travel grants were not paid by the ministry. The Italian government provided a subsidy, enabling the two to make a study trip to that country. Ultimately, Van der Heijden studied at the Accademia delle Belle Arti in Ravenna. Upon returning to the Netherlands, she, alongside Diederen and Nols, established her studio at Kasteel Erenstein near Kerkrade. She then moved to Maastricht in 1959.

Her work encompassed sgraffito, mosaic, wall paintings, and tapestries. From 1954 to 1966, she also created stained-glass windows, which were executed by the workshops of Gerard Mesterom and Hubert Felix.[3] After this, she no longer accepted commissions from churches and focused on graphic work, such as woodcuts and etchings. In the late 1980s, she started creating paper collages. After the death of her life partner, Bruno Borchert, in 1994, she produced pastel works depicting the final stages of human life.

Van der Heijden was a member of the Algemeen Katholieke Kunstenaars Verbond, the Vereniging van Beoefenaars der Monumentale Kunsten, and the Beroepsvereniging van Beeldende Kunstenaars.

The artist passed away in 1998, at the age of 75. Her possessions were placed under the care of a foundation and were donated to the Museum van Bommel van Dam

www.ftn-books.com has the publication on this donation to the museum now available.

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Ferd Verstraelen (1939-1994)

Throughout his active career, he served as a pivotal muse for a diverse range of visual artists such as Mathieu Knippenbergh and Harr Scheffer, as well as writer and poet Huub Beurskens, and filmmaker Ben Verbong.

The artistic and cultural oeuvre of Ferd Verstraelen (1939-1994) comprises of many facets. With his great talent for theater and his unique charisma, he was cast as Jesus Christ in the Tegelen Passion Plays not once, but twice, receiving tremendous praise both regionally and nationally for his performance. Additionally, Ferd worked as an autonomous artist and emerged as an innovative printmaker. He possessed a free spirit, dedicating himself wholeheartedly and with great concentration to his works. Unfortunately, due to his non-conformist and tragic life, many of his interesting artworks have been lost.

The exhibition “In the Light” also showcases juvenilia, “documents humains” (including drawings from diaries, personal photographs, poems, and clippings), as well as unique and moving images from archives. Alongside this, a new audio-visual documentary, directed by Helmie Brugman, will be shown. It sheds light on the life and work of Verstraelen and the search for his lost artworks. The life of the charismatic and photogenic Ferd Verstraelen can be compared to a diamond in many ways. Every time the reader looks, reads, or listens, they will discover new facets.

www.ftn-books.com has the Bommel van Dam book for his exhibition now available.